Mid- to Long-Term Development Plan

　　The Eight Great Mountains Man Memorial Hall is located on the banks of Meihu Lake in Qingyunpu, in the southern suburbs of Nanchang City, Jiangxi Province, beside Dingshan Bridge. Established in October 1959 on the original site of the Qingyunpu Daoist Monastery, it is China’s first memorial hall dedicated to an ancient painter. In 2010, the Nanchang Municipal People’s Government invested heavily in expanding the Eight Great Mountains Man Memorial Hall, increasing its area from the original 15 mu to 40 mu. The expansion added two new sections: a gallery for authentic works and a research institute. The hall primarily showcases calligraphy and paintings by the Eight Great Mountains Man as well as by renowned artists from recent and contemporary times. Currently, the hall houses a collection of 1,504 items (sets), including 36 sets of authentic works by the Eight Great Mountains Man himself. It is now designated as a National Second-Class Museum and a “National Key Cultural Relics Protection Unit.” The hall is affiliated with the Nanchang Municipal Bureau of Culture, Radio, Television, Press and Publication, and Tourism. It comprises eight internal departments: the Office, Security Department, Research Department, Exhibition Department, Industrial Development Department, Cultural Relics Preservation Department, Mechanical and Electrical Engineering Department, and Peng Youshan Art Museum Management Department. The primary responsibilities of the institution include ensuring the safety, preservation, collection, organization, and restoration of cultural relics housed within the hall; collecting and researching relevant historical materials and cultural relics; and conducting academic cooperation and exchanges.
　　2026 marks the 400th anniversary of the birth of Bada Shanren. To better leverage the Eight Great Mountains Man Memorial Hall’s role as a model unit for the integrated development of museums, a base for patriotic education, a practice and study base for primary and secondary school students, an outstanding platform for popularizing social sciences, a key base for Party-building education, and a demonstration site for talent development—while promoting the fine traditional culture of the Chinese nation and showcasing the artistry and sophistication of Nanchang’s urban construction—the construction of the new Art Masters Building at the Eight Great Mountains Man Memorial Hall will be the core focus of our museum’s next-stage development. Successfully organizing the series of events commemorating the 400th anniversary will also serve as the guiding direction for our museum’s future development.
　　I. The Importance of Enhancing Venue Functionality and Launching a Series of Related Activities
　　The artist Bada Shanren was an outstanding master of traditional Chinese painting during the late Ming and early Qing dynasties in China. He enjoys a prestigious position in the history of Chinese and even world art, and his artistic ideas have been leading the way for three centuries. Art masters such as Wu Changshuo, Qi Baishi, Zhang Daqian, and Li Kuchan all held him in the highest esteem. The Bada Shanren Memorial Hall, established in 1959, has made tireless efforts in researching and promoting Bada Shanren’s artistic achievements and has attained remarkable results. As a result, Bada Shanren’s status and influence in the history of Chinese art have reached unprecedented heights and breadth.
　　The only shortcoming is that the completion of the 2010 renovation and expansion project failed to connect the Eight Great Masters Memorial Hall with the Peng Youshan Art Museum. It’s as if two separate museums—one to the east and one to the west—exist independently, with just one building, the Zhen Shang Tower, standing alone and isolated. As a result, it’s impossible to perfectly showcase the authentic calligraphy and paintings of the Eight Great Masters, nor can it fully highlight the brilliance of Jiangxi-born artists. All these factors not only hinder the dissemination of the Eight Great Masters’ art but also impede the full realization of the Jiangxi Provincial Museum’s modernization efforts. Therefore, the construction of a new Art Master Building for the Eight Great Masters Memorial Hall has become an urgent necessity.
　　This will help promote the outstanding traditional culture of the Chinese nation and further expand the influence of Bada Shanren and his art both at home and abroad. It will also contribute to strengthening and improving patriotic education in the new era. Our country has now entered a critical period—marked by the comprehensive building of a moderately prosperous society and the imminent start of the second century—a period that holds immense significance for shaping a strong, democratic, civilized, harmonious, and beautiful socialist modern power. Since the 18th National Congress of the Communist Party of China, General Secretary Xi Jinping has mentioned this goal more than 100 times in his public speeches and writings, underscoring its extraordinary importance. The “Two Centenary Goals,” together with the Chinese Dream, have become the rallying cry guiding China’s progress in the new era. Faced with new situations and new tasks, there is an urgent need to improve and innovate the approaches to patriotic education. Integrating ideological and moral education into visits and tours can effectively disseminate advanced culture, enhance people’s ideological and moral qualities, and boost the effectiveness of patriotic education. Such an approach provides people with intellectual nourishment, stirs their hearts, inspires their spirits, and enlightens their minds, enabling them to wholeheartedly commit themselves to realizing the “Two Centenary Goals.”
　　This approach helps strengthen the protection of traditional cultural architecture. The Eight Great Mountains Man Memorial Hall, built adjacent to Qingyunpu, is designated as a key national cultural relic protection site. Once a vital sanctuary of the Jingming Zhongxiao School of Taoism, Qingyunpu is said to have been founded over 2,500 years ago by the son of King Ling of Zhou, who began practicing alchemy here. At the end of the Western Han Dynasty, Mei Fu, the magistrate of Nanchang, resigned from his post and went into seclusion here to fish; later generations erected the “Mei Xian Temple” in his honor. During the Eastern Jin Dynasty, Xu Xun came here to manage flood control and initiated the establishment of the Jingming School of Taoism, building the “Taiji Guan.” In the fifth year of the Tang Tahe era (831 AD), it was renamed “Taiyi Guan”; during the second year of the Song Zhihe era (1055 AD), it was again renamed “Tianning Guan.” It wasn’t until the 18th year of the Qing Shunzhi era (1661 AD) that it finally settled on the name “Qingyun Pu,” after which the character “Pu” was changed to “Pu.” The architectural style of this complex, while strictly adhering to Taoist architectural norms, fully incorporates the craftsmanship and distinctive features of Jiangxi vernacular dwellings, serving as a successful example of the fusion between Taoist temple architecture and local residential architecture.
　　The overall layout of the Qingyunpu ancient architectural complex features a closed, north-south central axis punctuated by progressively arranged courtyard gardens and atriums. Blending harmoniously with the surrounding environment, it creates an architectural pattern characterized by gardens visible from the lake, courtyards nestled within gardens, distinct layers, and a uniquely enchanting atmosphere. The main buildings of Qingyunpu include the “Guan Di Hall,” the “Lü Zu Hall,” and the “Xu Zu Hall.” These three halls are constructed using either a four-column-eight-beam or a five-column-nine-beam structural system. The halls are interconnected via inner atriums located between their front and rear sections. A covered corridor encircles the three halls, with side pavilions and ancillary rooms flanking them on either side, forming a traditional quadrangle courtyard layout. The varying elevations of the atriums create a staggered, terraced effect that takes advantage of the natural topography. The atriums feature excellent drainage and natural lighting; doors and windows are adorned with intricately carved lattice panels, lending the structures an antique yet elegant charm. The roofs are covered with small blue tiles, complemented by ridge beams and finials in the traditional suspended-gable style. To the east of the “Lü Zu Hall” lies the “Shu Ju” side room, once the dwelling of the celebrated artist Bada Shanren. On the east and west sides of the “Xu Zu Hall” stand the “Dou Mu Pavilion,” the “San Palace Hall,” and the “Qiao Yuan”—three separate, self-contained courtyards each featuring a small pond. The entire complex of main buildings is enclosed by walls that effectively separate it from the surrounding gardens, creating a cohesive unit within which gardens themselves form intimate courtyards. The Qingyunpu ancient architectural complex largely follows the architectural styles of the Ming and Qing dynasties, employing a mixed construction technique that combines the Jiangnan folk-style “chuan dou” framework with raised-beam structures. The exterior walls are built using locally produced hollow blue bricks, interspersed with plastered surfaces. The Qingyunpu ancient architectural complex and its gardens cover an area of approximately 11,400 square meters, with the total area of historic buildings amounting to about 2,500 square meters.
　　How to protect, carry forward, and further enhance the invaluable cultural and spiritual heritage left to us by our ancestors is a major issue that we cultural and museum professionals must thoughtfully consider. It also serves as a concrete manifestation of our country’s soft power. We should promote traditional Chinese culture by drawing on its essence while discarding its dross, ensuring that it is both compatible with contemporary society and harmonious with modern civilization, while preserving its traditional character and national identity and reflecting the spirit of the times. Through tourism, we can effectively protect, manage, and make good use of cultural relics and historic buildings. This plays an important and far-reaching role in building and consolidating the ideological and cultural front of socialism, vigorously developing advanced culture, supporting healthy and beneficial cultural practices, striving to transform backward cultures, and firmly resisting decadent ones.
　　(3) It helps promote coordinated economic and social development in cities. Developing the tourism industry is an effective measure for helping people escape poverty and become prosperous. It can transform historical, cultural, and resource advantages into economic strengths, drive adjustments to the economic structure, foster specialized industries, advance ecological conservation and environmental protection, and stimulate the development of related sectors such as commerce and services, transportation and telecommunications, and urban-rural construction. This, in turn, expands employment opportunities, increases incomes, and injects new vitality and dynamism into social development.
　　(4) It is conducive to fostering and developing new growth areas in the tourism industry. As China’s per capita income continues to rise, residents’ spending on tourism has been increasing year by year, placing new demands on tourism content and products. There is an urgent need for the tourism industry to further adjust and refine its product structure, thereby better meeting diverse, multi-level, and multifaceted spiritual and cultural needs. As an important component of the tourism industry, historical and cultural resources play a positive role in satisfying tourism demand, promoting tourism development, enhancing the industry’s long-term growth potential, and opening up broader tourism consumption markets.
　　(5) It is conducive to the development of digital museums. Leveraging the characteristics of the “big data” era, this approach breaks through the inherent limitations of physical museums in terms of time, space, and exhibition formats. By replacing the centralized, static collection of “digital data” with multimodal sensory “data,” we can establish a more comprehensive, in-depth, and ubiquitous interconnected network, eliminating information silos and fostering systematic collaborative working relationships among people, between people and objects, and between objects themselves. This, in turn, paves the way for a more sophisticated and intelligent museum operating system. The smart museum blurs the boundaries between physical museums themselves and between physical museums and digital museums, creating a new museum development model centered on museum operational needs and supported by continuously innovative technological approaches—a model that integrates online and offline experiences. This breakthrough overcomes the spatial and temporal constraints of traditional collection exhibitions, enriches exhibition methods, expands exhibition content, and better connects “objects, people, and data” with one another.
　　II. Construction of the New Eight Great Mountains Man Memorial Hall and the New Master of Fine Arts Building
　　By constructing a new art museum, we will link together the Qingyunpu Museum (Biography Hall)—the Authentic Works Gallery (featuring authentic calligraphy and paintings by Bada Shanren)—the Masters’ Gallery (housing collections of paintings and calligraphy by artists associated with Bada Shanren)—and the Peng Youshan Art Museum, thereby forming a circular chain that integrates resources. We will also provide complementary facilities, including fire protection, security, and lightning protection systems; equipment for the safekeeping of collections; environmental monitoring and control systems for collection preservation; and exhibition display facilities. This initiative will enhance the quality of our exhibitions, presenting visitors from all over China with a fresh and revitalized image that showcases the charm and vitality of traditional Chinese calligraphy and painting, as well as the artistry and sophistication of Nanchang’s urban development.
　　Architectural plan
　　Architectural design shall embody the principles of “suitability, rationality, economy, and aesthetics,” striving to achieve an artistic vision that harmoniously blends classical and modern styles. In doing so, the art museum should not only blend seamlessly with its surrounding environment but also maintain a degree of functional independence. We will identify the optimal design firm and, in accordance with relevant national policies, laws, and regulations, prepare a feasibility study report for the project, covering such aspects as the necessity of the project, construction conditions, project scale, engineering solutions, risk analysis, investment estimates, and funding arrangements.
　　The project’s construction includes six main components: exhibition halls, conference rooms, art studios, calligraphy and painting restoration rooms, creative research spaces, exchange rooms, reading rooms, a visitor service center, an educational research base, and office and administrative facilities. The scale of the project is determined in accordance with the national standards for first-class museums, taking into account architectural design codes, the actual conditions of Nanchang City, Jiangxi Province, and the specific functional and personnel requirements of the Eight Great Mountainsmen Memorial Hall for the creation, research, management, and organization of contemporary and modern calligraphy and painting works.
　　(2) Construction Planning
　　The newly built Eight Great Mountains Man Memorial Hall and the newly constructed Art Master Building consist of three main venues.
　　Exhibition Hall of Modern and Contemporary Calligraphy and Painting Works
　　As a functional exhibition hall integrating collection, research, display and exhibition, education, exchange, and service, it can be broadly divided into three main components from the perspectives of overall functional orientation and promotional strategy: first, the academic image; second, the educational image; and third, the leisure image. A fully-fledged contemporary art museum should focus on these three primary functional dimensions. The academic image demands a high level of expertise and vision, requiring rigorous engagement with art history in order to gain recognition and respect from the academic community. The educational image calls for high-quality artworks, innovative display methods, and sophisticated art-education approaches that permeate the participation of the general public, enabling them to receive subtle yet profound aesthetic education within the museum environment. Finally, the leisure image creates a pleasant and relaxed cultural leisure space through the museum’s elegant and refined ambiance, artistic atmosphere, and unique range of services offered.
　　Research and Study Base Education Center
　　Relying on the research-and-learning base’s education center, we provide visitors with opportunities to broaden their horizons and engage in multifaceted learning, thereby enhancing their interest in both appreciating and creating art. Within the nurturing environment of the education center, visitors can freely explore and experience art. The education center will invite high-quality instructors to offer art enthusiasts—regardless of their skill level—learning opportunities in various art forms such as calligraphy and painting. Additionally, the center will periodically host exhibitions showcasing outstanding works from the research-and-learning base. This initiative not only enriches the leisure cultural lives of local residents but also amplifies the influence of the Ba Da Shanren Memorial Hall, achieving a win-win outcome for all involved.
　　Art Exchange Center
　　While bringing the public refined artistic enjoyment, art should also shoulder the responsibility of art education, enabling a wide range of art enthusiasts not only to appreciate art but also to join in the creative surge. The exchange center will provide local artists with platforms for creation, exchange, and exhibition through various formats such as calligraphy and painting exhibitions, auctions of outstanding works, themed salons, and literary and artistic symposiums, thereby helping Nanchang build an artistic and cultural corridor.
　　III. Overall Approach for the Series of Events Commemorating the 400th Anniversary of Bada Shanren’s Birth
　　(1) Guiding Ideology
　　Thoroughly implement the spirit of the 19th National Congress of the Communist Party of China, taking Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era as the guiding principle for the healthy and orderly leapfrog development of cultural and museum undertakings. Adhere to the principles of staying close to reality, close to life, and close to the people; grasp the stage-specific characteristics of the cultural and museum sector; strengthen the utilization of cultural and museum resources; continuously optimize the development environment for museums; refine the system of city-specific museums; establish a modern museum governance framework; and reinforce the unique role of museums in inheriting urban civilization, shaping the city’s image, and enriching urban life. Integrate traditional education with tourism development in an organic manner, remaining closely aligned with reality, life, and the public. Through government-led guidance, active social participation, and effective market operations, we will bolster the construction of key projects, address and improve weak links, and promote the sustained, rapid, and healthy development of tourism. The series of events commemorating the 400th anniversary of the birth of Bada Shanren will serve as an effective means of strengthening and improving patriotic education, as well as an important pathway for promoting the coordinated economic and social development of this heroic city.
　　(2) Basic Principles
　　1. Always prioritize social benefits. We must integrate the promotion of China’s outstanding traditional culture and the cultivation of national spirit, combine it with strengthening and improving ideological and moral education for young people, align it with the effective protection and rational utilization of traditional cultural architecture, link it with resource conservation and ecological development, and coordinate it with promoting coordinated economic and social development. By embedding education in tourism, we can achieve a harmonious integration of social and economic benefits.
　　2. Adhere to a strategy tailored to local conditions. Fully leverage existing facilities and resources, and realistically identify priority construction projects. Strictly follow the standard procedures for basic construction, carefully control the scale and standards of projects, and ensure that they are simple, practical, and functionally complete.
　　3. Uphold integrated and coordinated development. Pay close attention to ensuring alignment between tourism zone planning and urban-rural planning in related areas, as well as with specialized plans for transportation infrastructure, environmental protection, scenic and historical site preservation, and cultural relic protection. Integrate relevant tourism resources, closely link tourism development with eco-tourism and ethnic-cultural tourism, and create comprehensive, multi-faceted tourism products that enhance the attractiveness and appeal of tourism.
　　4. Uphold multi-party participation. Fully leverage the initiative of both the central and local governments, combining administrative advantages with economic instruments. Investment in publicly-oriented construction projects will be jointly borne by the central and local governments’ fiscal resources, while investment in commercially oriented construction projects will be addressed through market-based approaches, thereby enhancing sustainable development capacity.
　　(3) Development Goals
　　— Accelerate tourism development and make it an important platform for demonstration in the integrated development of museums, a base for patriotic education, a base for study-and-research practice education for primary and secondary school students, an outstanding base for popularizing and promoting social sciences, a key base for Party spirit education, and a model site for talent development.
　　—To become a tourism destination with a distinct theme, smooth transportation, comprehensive supporting services, and strong appeal, one that exerts significant influence both domestically and internationally.
　　—To become a popular tourism route characterized by mature product offerings, close integration of traditional cultural tourism with other tourism activities, smooth transportation connections, and high flexibility and adaptability—thus earning widespread appeal among tourists.
　　— The protection, exhibition, education, and promotion of China’s outstanding traditional culture have reached a domestically advanced level.
　　— To industrialize tourism and turn it into a leading industry that drives the development of this heroic city. Further consolidate and enhance the level of infrastructure support, achieve planned objectives, and promote the comprehensive development of Nanchang’s tourism sector.
　　(4) Activity Planning
　　By 2026, we will integrate high-quality collection resources from museums and art galleries across the country, introducing 1–2 high-caliber, high-level exhibitions each year and launching one outstanding overseas exhibition. We will spare no effort in establishing a robust platform for showcasing and exhibiting calligraphy and painting arts. Taking exhibitions, public education services, and outreach activities as opportunities, we aim to attract an annual visitor count of over 1 million.
　　In 2026, we will host the opening ceremony for a major special exhibition celebrating the 400th anniversary of Bada Shanren’s birth. We will also publish the “Collection of the Special Exhibition Commemorating the 400th Anniversary of Bada Shanren’s Birth,” along with related promotional materials. Additionally, we will organize special lectures, academic seminars, and a series of public education activities. In response to General Secretary Xi Jinping’s important instruction to “bring cultural relics to life,” we regard “telling China’s stories well” as our top priority. This event will enable audiences to appreciate and savor precious works of art spanning nearly six hundred years—all right at their doorstep—offering the art community, art enthusiasts, and the general public a grand cultural feast and paying tribute to Bada Shanren.
　　IV. Overall Content of the Development Plan
　　(1) Personnel Funding System Guarantee
　　In recent years, our museum has published more than 20 papers in academic journals at or above the provincial level and has submitted over six project proposals for municipal- and provincial-level research initiatives. To promote the art of Bada Shanren, our museum has edited and published the internal academic journal "Studies on Bada Shanren," which has so far produced a total of 26 issues. In 2013, this journal was awarded the Third Prize for Outstanding Continuous Internal Publications in Jiangxi Province. To better disseminate culture, enhance the professional competence of our staff, continuously refine our talent-development programs, cultivate "Hongcheng Craftsmen" and "Hongyan Leaders," and equip ourselves with specialized professionals in cultural and artistic research as well as discipline-leading figures, we actively communicate with provincial, municipal, and higher-level authorities to secure matching research funding and build the most authoritative and comprehensive research base dedicated to Bada Shanren studies.
　　Strengthen the development of the museum workforce.
　　(1) Build a high-quality team of museum professionals. Clearly define the nature and positioning of museums as knowledge-intensive cultural and educational institutions, create favorable conditions, rigorously enforce qualification requirements for museum staff, continuously enhance their professional competence, and strive to develop a highly qualified, professional workforce characterized by noble ethics, superb expertise, a rational structure, and vibrant energy.
　　(2) Establish and rigorously implement an access system for museum professionals. Develop qualification standards for museum personnel, strengthening requirements related to educational qualifications, professional backgrounds, and moral character for those taking up positions in museums, and strictly control the entry threshold for museum staff. Establish a training system for museum professionals before they take up their posts. Explore the establishment of a unified series of job titles (professional ranks) for museum staff. Formulate qualification standards for museum directors, promote the professionalization of directors, and enhance their management capabilities. Develop staffing standards for museums, strengthen post management, innovate hiring practices, and standardize employment behavior. Improve evaluation and incentive mechanisms, and establish a sound mechanism for the mobility of museum professionals. Expand the ranks of museum volunteers and broaden the scope and areas of participation by social forces in the development of museum undertakings.
　　(3) Enhance the professional competence of museum staff. Improve the training and development system, develop comprehensive training plans, optimize the staff structure, and raise the professional expertise and practical abilities of museum personnel. Relying on relevant universities, museums at or above the provincial level, and organizations such as the China Museum Association, guide higher education and vocational education in museum-related fields to align discipline development, major offerings, and curriculum design with the needs of museum development. Jointly establish training and development bases for museum professionals. Include funding for staff training in government budgets and implement a five-year cyclical training program covering all museum staff. Strengthen training for museum directors and attach great importance to training for heads of museum business departments. Expand master’s degree programs in cultural heritage studies, and through workshops, academic exchanges, project funding, and other means, focus on mid- and young-aged professionals to cultivate backbone museum staff, academic leaders, and museum directors. This will help produce a group of highly qualified specialists and leading experts in urgently needed fields such as museum management and operations, architectural planning, collection restoration, cultural relic appraisal, exhibition design, educational communication, cultural creativity, and international exchange and cooperation. Focus particularly on museums at the prefectural and county levels as well as museums in ethnic minority regions to improve the overall quality of staff in small and medium-sized museums. Museums at or above the provincial level should implement high-level talent recruitment programs to attract internationally influential subject leaders and experts to join their ranks.
　　(4) Strengthen professional ethics and work style development. Guide museum professionals—especially renowned experts and celebrities—to consciously practice the core socialist values, enhance their sense of social responsibility, uphold the spirit of science and professional ethics, and promote a culture characterized by rigor, dedication to research, disinterest in fame and fortune, and self-respect and self-discipline. Strive for excellence in both moral integrity and artistic excellence, firmly resist unhealthy trends such as academic misconduct and vulgar tastes, and consciously become producers and disseminators of outstanding culture, as well as role models for moral conduct and personal integrity. Treat professional ethics and work style as the primary criteria for assessing, hiring (appointing), and evaluating museum professionals.
　　2. Ensure adequate financial investment
　　(1) Establish a sound funding system that relies primarily on government investment while actively exploring multiple channels for raising funds. Implement a mechanism that prioritizes funding from the organizers, supplemented by museum-established funds and social donations, thereby significantly increasing investment in museums.
　　(2) Further clarify the responsibilities of governments at all levels in providing public cultural services through museums, and ensure stable funding sources and growth for museum operations. Fully incorporate free museum access into the scope of fiscal support, further refine the funding mechanism under which central and local governments share costs by project and according to a predetermined proportion, and enhance the level of financial support. Further increase investment in municipal and county-level museums as well as museums in ethnic minority regions, strengthen efforts in key areas and address weak links, and tackle prominent issues effectively.
　　(3) Improve preferential policies in areas such as finance, taxation, finance, and land, and encourage and guide industries, enterprises, and other social forces to donate funds and resources for establishing museums. Enhance the incentive mechanism for museum donations and implement the provision allowing personal donations to public-interest museums to be deducted from taxable income prior to tax calculation.
　　(4) Establish a performance evaluation system for the use of funds and strengthen the assessment of fund utilization for major projects. Uphold the principle of running museums economically and frugally, strictly prohibit extravagance and waste, and build resource-efficient museums.
　　3. Promote management based on the rule of law
　　(1) Accelerate the process of building a legal framework for museums. Strengthen basic research on museum legislation, engage in coordinated planning, establish a clear framework, and essentially create a Chinese-characteristic museum legal system that is comprehensive, well-coordinated, scientifically sound, and effectively implemented. Expedite the promulgation of administrative regulations governing museum management—the Regulations on Museum Administration. Conduct research and draft a foundational law to ensure the development of the museum sector—the Museum Law. Improve departmental rules and regulations covering museum management practices, museum registration procedures, standards for the protection of museum collections, exhibition displays, social services, professional personnel, as well as aspects related to buildings, facilities, environment, and safety. Establish a framework for technical standards, management standards, operational standards, and fundamental standards or technical specifications for the museum industry that are application-oriented, highlight key priorities, are scientifically rigorous, and easy to implement.
　　(2) Strengthen the publicity, implementation, and promotion of museum-related laws, regulations, and standards. Intensify supervision and inspection of the government’s compliance with museum laws, regulations, and policies. Establish a system for publicly announcing the results of supervision and inspection, as well as a system for setting deadlines for corrective actions. Explore reforms to the administrative law enforcement mechanisms and systems for museums, implement the accountability system for administrative law enforcement in museums, and promptly investigate and address violations of museum laws and regulations, infringements upon the rights and interests of museums and the public, and disruptions to the orderly operation of museums. Enhance social oversight. Improve the system for disclosing museum information, ensuring that the public enjoys the rights to know, participate, and supervise museums.
　　(2) Emphasize the work of protecting cultural relics in collections.
　　Enrich the collection system. Increase investment, improve incentive methods and mechanisms, and establish a collection philosophy that aligns with the principles and laws of museology. Based on our museum’s own mission and development direction, formulate clear collection policies and a forward-looking, systematic long-term collection plan. Refine the acquisition procedures, continuously expand the number of collections, and enhance the quality of our holdings. Strengthen the acquisition of contemporary artworks across various disciplines.
　　Actively explore and develop channels and methods for collecting artifacts. Treat donations as an important avenue for museums to acquire collections, strengthen communication and services for private collectors, and encourage these groups to donate their collections or entrust them to museums for safekeeping and utilization. Further refine the management of archaeological finds, ensuring their lawful collection and protection. Innovate incentive mechanisms for inter-museum exchange and sharing of collection resources; through legal transfers, exchanges, and loans, effectively integrate and optimize the allocation of museum collection resources, thereby enhancing their conservation and utilization efficiency.
　　Strengthen the registration, documentation, and security management of our collections. Employ modern scientific and technological methods to conduct a comprehensive census of movable cultural relics and collections, fully completing the foundational work of collection registration and documentation at our museum and establishing a collection database. Promote the sharing and utilization of collection information resources, and release catalogues of the museum’s cultural relics in phases. Enhance scientific preservation practices.
　　Fully implement standards for the preservation and protection of cultural relics. Strengthen the concept of preventive conservation, comprehensively carry out the construction of environments meeting preservation standards, and promote continuous improvement in the conditions for preserving museum collections. Innovate mechanisms for sharing conservation resources, leveraging the key research bases for cultural relic preservation under the National Cultural Heritage Administration and nationally-level museums jointly established by central and local authorities. Enhance the promotion and application of mature technologies, and undertake restoration work on the physical objects of movable cultural relics, thereby essentially halting the deterioration and loss of our museum’s calligraphy and painting artifacts.
　　(3) Diversified Forms of Catholic Public Activities
　　Exhibitions serve as a platform for museums to engage with their audiences, and the museum’s ability to organize and plan exhibitions is its core competitive edge. By hiring professional curators and mounting high-quality, original exhibitions, museums can break down barriers between institutions and collaborate with other museums in an open and inclusive manner, sharing their respective strengths and resources to offer audiences an even richer viewing experience. Academic exhibitions have attracted a loyal audience, while contemporary and modern art exhibitions have enabled museums to forge connections with numerous artists. As the museum’s visibility grows, more and more contemporary artists are donating their works to the museum, further enriching its collection and fulfilling the museum’s mission of collecting for the future.
　　How museums can better provide targeted social education services to their audiences—and what role they should play—has prompted deep reflection among museum educators at the Tongliao City Museum. By presenting vivid, concrete exhibits accessible to all members of society, museums can vigorously disseminate cultural knowledge and strive to enhance the public’s cultural literacy. It is anticipated that the “Mobile Museum” initiative—bringing exhibitions and educational activities directly to communities, universities, government agencies, and enterprises—will proactively deliver exhibitions and other cultural products to diverse audiences. Additionally, the “Museum Co-construction Program”—leveraging the advantages of provincial flagship museums in terms of collections, technology, and talent—will offer strategic guidance and technical support to non-state-owned museums as well as state-owned museums below the county level, helping them improve their operational capabilities, address practical challenges, and gradually promote the collective advancement of museums at all levels and of various types within the region.
　　Timely update the content of public education activities, enrich the formats of these activities, and continuously enhance their interactivity and entertainment value. We have launched the “Joint Construction of Aesthetic Education Bases” initiative—bringing aesthetic education classes into primary schools, mobile exhibitions to universities, and online aesthetic art classes; the “Social Practice Grand Classroom”—offering experiences such as rubbings creation, live painting demonstrations, and plein air sketching tours; and the “I’m an Ambassador for the Eight Great Masters” program—featuring three major public education themes, including young docents and morning newspaper junior reporters. For instance, in light of this year’s epidemic prevention and control situation, we held an online live broadcast titled “Aesthetic Education Class at the Ba Da Shan Ren Memorial Hall” on Douyin’s livestreaming platform during the May 4th Youth Day. This livestream event has opened up a new avenue for our museum to provide public education services, offering the general public an exceptionally enriching and innovative learning experience. At the same time, on “May 18 International Museum Day,” we organized a lecture series, featuring expert presentations that provided an in-depth exploration of Ba Da Shan Ren’s artistic world.
　　(4) Development and promotion of cultural and creative products
　　To further enhance the level of public cultural services provided at the museum, in 2019 our museum expanded its existing cultural and creative store by an additional 67 square meters, adding a new café and leisure area to offer visitors a more comfortable and high-quality service environment. We have also optimized our operational platform by introducing cultural and creative products into the “Nanchang Gifts” specialty store and launching online sales through the “Yunyou Jiangxi Shopping” platform, thus establishing an integrated online-and-offline sales model that has significantly broadened the reach of the Eight Great Mountainsmen Memorial Museum’s cultural and creative products.
　　First, we need to build a platform that draws on the museum’s collection of artworks and the distinctive local handicrafts of Jingdezhen, Jiangxi Province, as its core content. We will develop cultural and creative products with regional cultural characteristics, including background culture, biographical stories, religious culture, and clothing culture. Currently, the main cultural and creative products being sold include: the Four Treasures of the Study (writing brushes, paperweights, etc.), books, tea sets and tableware, reproductions of antique calligraphy and paintings, porcelain panel paintings, and tourist souvenirs (commemorative badges), among others.
　　Second, we should produce a series of promotional materials to spread the fame of Bada Shanren’s culture. We should actively collaborate with high-end media outlets and continuously update and release a series of in-depth reports on Bada Shanren’s cultural heritage, paying close attention to, documenting, researching, interpreting, and promoting Bada Shanren’s cultural activities and cultural image. At the same time, we should elevate the status of Nanchang’s calligraphy and painting arts and culture.
　　Third, we must closely integrate cultural promotion with economic and trade activities, investment attraction, and festive exhibitions and conventions. We should actively introduce and host provincial and national calligraphy and painting exchange events, fully leveraging the role of the Bada Shanren Platform. By employing market-oriented approaches, we can promote Bada Shanren’s art and culture, encouraging every visitor to the Bada Shanren Memorial Hall to willingly purchase products, take them home, and share them with others—thereby facilitating the exchange of cultural products and boosting the prosperity of the cultural market.